Godard is all about talking about dispensable things, the gimmicks are enough, one is the one who understands the movie best and the other is the wisest, but unfortunately one formula is different The formulation of , has no fundamental meaning, since its instrumentality as a formula has not changed.
The geographical differences between the two have inscribed obvious traces on their thoughts. The philosophical Woody Allen is by no means the most profound. The filmmaker's Woody Allen skillfully plays with the philosophical theory to show his "wisdom" . In general Woody Allen or at least his films tend to be pragmatic, he starts with philosophy and ends with film. As for Godard, the 20th century France's excessive access to the WTO and the trivial philosophical trend involved him in the capitalized films. He started from the shadow and ended in the shadow, and the shadows as the end were all too WTO-accessible. The storm in May 1968 Radical acts of the artist, Chinese girls and other works are good evidence for the discussion of politics.
2. The recall of Woody Allen's memory of meeting Freud
is conveniently displayed in the movie. If you show off like Woody Allen, you can add a question: Is the invention of the movie a memory? Facilitated by the evoked presentation, which comes first?
In love and death, the little boy threw a lot of questions when he met the god of death. The interesting thing is that he is most concerned about the world after death. There are no sisters in the world. Sex is the most tragic problem to be encountered in this world, not death. In this film, Brother Allen said a wit: "If I choose between God and air conditioning, of course I will choose air conditioning", and he complains in another place. After a few sentences about sister paper and God's choice, it is because of your urination that you want to choose sister paper. After all, if I want to be on sister paper, I will be able to hire a prostitute. prostitutes), but God doesn't come to you with a phone call.
Sex is Freud's big problem, of course, it's a bit far-fetched to say that Brother Allen is holding the Freud flag high, the important thing is to "mention". "Mention" is also a gadget of Freund's theory, but it is used more in the wind and moon field. To judge whether a girl is hooked or not is from the dispensable "slip of the tongue", the incidental disclosure, etc. The choice is to say, whether the sister paper is willing to make love with you can not be concluded from whether she has said "make love" bluntly, and often see whether she has mentioned the word "make love" or its agreement in her words. . Well, Woody Allen clamored for "Floyd" in the movie, ok, he's Freud's.
3. Woody Allen meets the movie
to overturn the first rule here.
Woody Allen is not just about movies, he reflects on movies, and uses a relatively pure way, that is, the literary youth of the Chinese Dynasty has nothing to do with movies to define movies, and the consequences are bound to be bloody. Comrade Lenin said that the fortress of the revolution is broken from the inside, and the definition of the thing itself is bound to fall into antinomies. To escape, maybe you can only do as Comrade Lenin said, break yourself, of course, you will be gone. Those dicks Definitions also naturally vanished into ashes. So Sao Nian should wash and sleep, just like the unfocused uncle in the movie, stop "thinking-reflection", there is no future and no way out, Sao Nian only needs to settle two things, how about one? The other people around the sister paper are separated, and how do the two get the sister paper to bed.
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